This time last month, I was getting back into the routine after getting home from World Fantasy Con in Brighton. That was very enjoyable on the personal level; seeing friends and catching up with their lives and careers in these uncertain times. Professionally, I was busy. I chaired one panel about writing fantasy for younger readers, from pre-school to teens, which was very informative. I spoke on a panel about ‘writing fighting’ which revealed a breadth of views and experiences among the authors, and that’s always good. I gave a reading – well, two short readings, to give a taste of The Green Man’s Holiday, launched at the convention, and of The Riven Kingdom, coming next year from Angry Robot.

Then there were any number of conversations about the business, and the craft, of writing. I had a very pleasant ‘meet the author’ chat with some lovely people, and over the course of the weekend, signed a highly satisfactory number of books & programmes. A particular delight was signing a much reread and cherished copy of The Thief’s Gamble, my debut novel, in its original edition. Seriously, never feel you shouldn’t ask an author to sign a less than pristine book, and there’s no need to apologise. Every writer I know loves to see them.

We launched The Green Man’s Holiday, alongside Wizard’s Tower Press’s other new titles. The third in the Wiz Duo novella series offers The Sheltering Flame by Ruthanna Emrys alongside Walking a Wounded Land by Andrew Knighton. I’ve read and enjoyed previous work by both these authors and hope to get to these new stories soon. The other title launched was Of The Emperor’s Kindness by Chaz Brenchley which is as intriguing as it is deceptively low-key. There was cake and wine and chatting with friends – and Garth Nix and Peter Hamilton both keen to buy copies of Dan’s latest adventure and get them signed, being fans of the series. How’s that for a great day?

Incidentally, thanks to everyone who has shared positive and enthusiastic ratings and reviews for The Green Man’s Holiday online. Personal and digital ‘word of mouth’ is absolutely vital for small press publications, ever more so as social media fractures and scatters communities.

Since then? November is the Society of Authors’ AGM month, so I had a fair bit to do relating to that. The AGM was very positive and constructive, looking forward to continuing current campaigns to defend copyright, and to promote author care by publishers, among much else. I also took part in an online round table discussion hosted by the Department of Arts and Humanities, European University Cyprus, exploring the uses creators might make of AI tools, or not, and why. If and when that’s offered in the public domain, I’ll share a link.

I’ve also tackled a considerable amount of domestic and work-related administrivia to clear the desk for background reading and plot wrangling for the next Green Man book. I’ve done some website tidying up, and we have now incorporated information about JM Alvey’s historical murder mysteries into this site, along with observations I made along the way about writing fiction set so far in the past in this world.

Last but by no means least, I’ve added a short story The End of the Road, previously published in the final edition of Albedo One magazine, to the Some Free Stories page. Think of it as a seasonal gift, however you may celebrate.

I will now split my time for the rest of this month between Christmas preparations, socialising with friends and family over the holiday break, and the aforementioned reading and plotting before I start writing Dan’s next adventure next year.

I’ve mentioned the epic fantasy I’ve been working on for a while now, and promised more information in the fullness of time. That time is now!

The Riven Kingdom will be published by Angry Robot next year. The press release says:

Angry Robot Books has acquired Juliet E. McKenna’s The Riven Kingdom, described as a “fresh and gripping fantasy” that “blends politics, religion, and a battle for a dead king’s throne, perfect for fans of the Realm of the Elderlings series.”

Commissioned by editor Simon Spanton Walker, the one-book deal covers physical, ebook and audio.
“After devising a world with eerie, hidden magic and winding lethal intrigues around characters as new to me as they will be to readers, I’m thrilled to be working with Angry Robot to bring this story to fantasy fans,” says Juliet.

Simon Spanton Walker, commissioning editor, says: “Juliet writes involved and involving fantasy of the very highest order. The Riven Kingdom is no exception: a nuanced and gripping tale that uses fantasy to give vivid life to both the rulers and the ruled of a fantasy world in crisis. We’re incredibly proud to be her publisher.”

And Juliet’s agent, Max Edwards, adds: “Juliet E. McKenna is a legend among fantasy writers, and for good reason. The worlds she builds, the characters who populate them, and the challenges they face, are truly epic in their scope. After several years away from her heartland, it’s thrilling to see The Riven Kingdom re-inventing the epic fantasy for today’s world.”

So what’s the book about?

When King Venais is killed before he can marry and father an heir, the kingdom of Arafaze is thrown into uncertainty. His sister Princess Idelina, too grief-stricken to assert her claim to the throne, finds herself circled by those with ambitions of their own: Princess Alriad, the dead King’s aunt, seeks endorsement from the Sun Goddess’ high temple to rule as regent; Earl Padran and Earl Debin are determined to see the rightful succession secured; King Tadiri of neighbouring Mervante, whose daughter was set to marry the King, senses an opportunity.

As the kingdom splits into opposing factions, Jadewin, an experienced Moon Priestess, and Alory, a young Sun Priest, discover cliques within the temples and shrines betraying their vows to stay out of royal rivalries. Priests and priestesses defend this world against terrifying incursions from the intangible realm. Amid the upheavals of a war of succession, who knows what malevolent creatures might gain entry into their reality…

The Riven Kingdom is a high fantasy that explores the harsh realities of hereditary power in a world where knowledge of magic and the supernatural are secrets too dangerous to share.

We have a stupendous cover and I will share that as soon as I get the nod.

Taking a quick break from revising my new epic fantasy novel* to be published by Angry Robot next year, here’s some news to please keen readers.

The Green Man’s Holiday will be published by Wizard’s Tower Press on 30th October 2025, and ebook preorders are now open. Paper editions will be available for preorder soon. Check with your preferred retailer and/or find the full roster of purchase links at the Wizard’s Tower Press website.

Incidentally, if you would like to read some early excerpts, do check out Book Quote Wednesday #BookQW on social media. For me, that’s Bluesky, Mastodon, and Facebook. We get a word each week to look for in our books and share what we find. All authors are welcome to join in, so if you browse the hashtag, you’ll find a wide range of genres and writers.

*details about the new fantasy novel will be forthcoming in due course. I can say we now have a title we like very much, and an excellent cover concept. I am very pleased with the new facets added to the original story by the shifts in focus discussed and agreed after editorial input.

Once this rewrite is done, I’ll hopefully blog a bit more frequently…

A brief and very pleasing bit of news today. I’m delighted to share Ben Baldwin’s fantastic cover, along with the title of the next book in my Green Man series.

The Green Man’s Holiday will be officially launched in October at the World Fantasy Convention in Brighton (with a sneak preview at Bristolcon).

Will Dan and Fin enjoy the relaxing break they’re hoping for? You’ll have to wait and see…

Today sees Different Times and Other Places, my retrospective short fiction collection, published by Newcon Press. This is the latest in their Polestars series showcasing writers working across speculative fiction – who happen to be women. Selecting these stories has offered me insights into my development as a writer, as well as highlighting inspirations which I realise go back to my earliest reading. It has also given me the opportunity to share two completely new, previously unpublished stories. The Green Man’s Guest sees an unexpected encounter for Dan Mackmain in an arboretum, while A Stitch in Time Saves One explores an epic fantasy possibility that occurred to me and was simply too good not to use somewhere.

The only downside of putting this collection together – if I can even call it that – is I find I want to write more and longer stories about the people and places I have revisited. My natural writing length is the novel. Writing short stories is a skill I have consciously learned. It’s a distinctly different narrative form which I have come to appreciate, not least by reading the work of other authors who do this supremely well. Writing really good, effective short fiction absolutely isn’t simply a case of fitting a story into the required word count.

My first novel, The Thief’s Gamble, was an epic fantasy, a genre I still read and enjoy. I often come across potential inspirations for fresh ways of looking at magic, and of reflecting on our own lives using the magic mirror of a previously unimagined secondary world. These days, short stories allow me to explore these ideas in between writing my ongoing Green Man series of contemporary fantasy novels. And since a short story asks far less of a reader’s time, they are an excellent way to offer an introduction to my style and perspective as an author.

I don’t ever want to become complacent as a writer, so I continually strive to hone my skills. The best way to improve your abilities in any craft is to tackle new tests. That’s something else I get from short fiction. Writing for a themed anthology is an intriguing creative challenge as I look for an angle that no one else has seen. Then I get to read everyone else’s stories, and see the other possibilities they found. In Fight Like A Girl Volume 2, from Wizard’s Tower Press, it’s great to see so many authors from the first volume returning, as well as the contributions from other writers joining us. It’s very rewarding to see readers enjoying the breadth of perspectives this anthology offers.

Shared-world writing asks similar and also different questions of an author, as a group of writers work together to find the balance between individuality and collaboration that creates a coherent setting which becomes more than the sum of its parts. I contributed the story ‘Unseen Hands’ to the Ampyrium anthology from ZNB in the summer, working with and alongside a great roster of writers to build this new and original milieu.

February 2025 will see the publication of the Lincolnshire Folk Tales Reimagined anthology. This was a different writing challenge yet again. The team behind the ‘Lincolnshire Folk Tales: Origins, Legacies, Connections, Futures’ project at Nottingham Trent University are putting together a programme of launch events, which will include readings, Q&A and more, to promote interest and awareness of the origins and influences of this storytelling heritage. Check this page for the dates and places for events – you’ll need to scroll down for the newest additions.

And now? I’ll get back to working on a new, full-length project that I’m developing, alongside Dan’s next adventure…

The seventh instalment of Dan Mackmain’s adventures makes this the longest continuous sequence of novels that I’ve written. Okay, I actually reached that point with the last book, The Green Man’s Quarry but I’ve only just thought about this. The Tales of Einarinn came to a natural pause after five volumes. The subsequent books in the World of Einarinn timeline were a series of four novels, followed by two trilogies. With each of those sequences, I was determined not to rewrite a story I’d already told. Shifting focus to a different part of that fantasy world with a new cast of characters was a key part of ensuring that.

So how can I keep writing the Green Man books without repeating myself? It turns out elements embedded in these stories from the start are very helpful. I decided Dan’s life would be grounded in everyday reality. Writing epic fantasy novels showed me how a solid foundation makes the magical far more believable. With these books, that means a year or so between each story sees a year or so pass in Dan’s life. His relationships develop and his priorities change. That makes new demands on him and I can find new ways to threaten him.

These books are rooted in British folklore. This is a vast and varied resource. The more I read, the more I find to spur my imagination. I don’t necessarily find complete stories. Most local legends are single incidents, often tied a particular landscape feature or an old building. A lot of these stories are very similar, even when they’re set hundreds of miles apart. None of this is a problem. As I read these variations, I can use common threads to weave stories into the underlying mythology that’s evolving through this series. Where I find contradictions and exceptions, those can remind the reader not to take anything for granted. Where mentions of a monster are little more than fragments, I can devise something that’s both familiar and wholly new.

Then there’s the catalyst. The creative process that has emerged for these books is very different to my approach to writing an epic fantasy novel or a historical murder mystery. I plan those in detail from the start, and I tailor my research to the needs of the plot I’ve already worked out. Each Green Man book starts with me gathering assorted, apparently unrelated ideas from my folklore reading, from places I visit, from conversations with like-minded friends. I make note of news stories about rural life and concerns which will affect Dan and his friends. At that stage, I genuinely have no idea what the next book will be about.

Then I will come across something that suggests a way to tie these ideas together. Once I have that catalyst, the story starts to take shape. Its internal momentum shows me where and when to draw the next element in. Now my research is about finding the people and resources to tell me things I had no idea I would need to know. I will be well into writing the novel before I see the ending come into focus ahead. I would never have imagined I would be working this way, but the experience is as exciting as it has been unexpected.

So what was the catalyst for The Green Man’s War? When we were visiting Burford one day last winter, my husband saw a small bronze statue of three dancing hares in a jeweller’s shop window. Regular readers will understand why that caught his eye. We went in to buy it, only to discover the shop door should have been locked and the ‘Closed’ sign put up. A distracted member of staff had followed the usual routine on auto-pilot. The manager and staff were actually in the shop that morning to compile an insurance claim after being robbed the week before. A gang of men armed with hammers and knives had ambushed the keyholder outside, forced their way in, and stripped the shelves and display cases bare. The nice people in the shop were happy to sell us the little statue, once they had told us all about it.

That got me thinking. What would Dan do, faced with that situation? Why might something like that happen to him? I’d read a few myths that mentioned jewellery. Ideas started coming together…

I had an excellent time at Fantasycon in Chester, and an excellent time at Bristolcon, which is where you would expect it to be held. Having spent the last two days clearing the decks of work stuff, today will be getting everything ready for our trip to Sweden tomorrow. I’ll be one of the Guests of Honour at Fantastika 2024, this year’s Swecon, over the weekend. After that, husband and I are having a week’s holiday in Stockholm. (Burglars please note, Resident Son is taking vacation days while we are away to have his own holiday at home.) This will be our first break in what has been a challenging year for a range of reasons. I’m looking forward to coming home refreshed to work on a couple of things at a more relaxed pace than the past six months have allowed.

I’m also encouraged by what’s been a recurring theme in panel discussions, namely the importance of writers examining and discussing the origins of themes and archetypes they’re using. An important reason for this is to avoid perpetuating outdated and even harmful subtexts and ideas. More than that, writers are seeing the wide range of opportunities to be found in identifying the stories not being told, by looking at variations on legends, old and new, which don’t centre the most frequently-used characters and story structures. I feel this is excellent for the SF&F genre.

Enthusiasm at these conventions for the forthcoming new anthology Fight Like A Girl Volume 2 (Amazon pre-orders here) is very rewarding, as is people’s eagerness to read The Green Man’s War (Amazon pre-orders here), which will be published on 15th November,. For comprehensive lists of non-Amazon buying links check out the Wizard’s Tower Press pages for Fight Like A Girl Vol.2 and for The Green Man’s War.

Something I’ve found very entertaining is seeing readers (who tagged me in) discussing their responses to the Green Man series protagonist Dan Mackmain, as a character and as a ‘real person’. The consensus seems to be affection blended with intermittent exasperation, as expressed in splendid fashion here.

“Daniel. Sweetie. That’s gonna bite you in the ass later. Daniel. No. Please think this through.”

I’ve had some intriguing conversations about Dan in person as well. All of this encourages me to continue writing his story. It’ll be interesting to see where delving into my folklore To Be Read stack takes him next.

The way Dan’s occupation is interwoven with his personality, and influences his actions ,leads me very nicely into the guest post following this. Andrew Knighton has been reflecting on ways in which a fictional character’s work can colour and shape a story. I am very much looking forward to reading Andrew’s new novel, The Executioner’s Blade, when I get home from our travels.

I will be at Bristolcon this coming weekend, where Cheryl and I will be celebrating the forthcoming publication of The Green Man’s War. For this convention, ebooks will be available for purchase direct from Wizard’s Tower Press. Click here for the Wizard’s Tower page of purchase links for pre-orders.

As ever, Ben Baldwin has given us an absolutely stunning cover.

What’s the story this time? Well, for a few years now, the Green Man has sent Daniel Mackmain to resolve clashes between ordinary people and the supernatural world. Dan has found allies among folk from myth and met other humans who can see the uncanny. He has also made dangerous enemies. Someone has decided to put a stop to this interference once and for all. Dan and his friends are about to find themselves in the firing line.

The actual publication date will be 15th November for hardback, paperback and ebook editions through the usual retailers. This year has been a challenging one for me personally, and unforeseeable events threw my writing schedule into chaos. This landed the rest of the team, publisher Cheryl, editor Toby and artist Dan, with the knock-on effects which had to be managed alongside their other commitments. Believe me, everyone has done their utmost to bring Dan’s latest adventure to eager readers as soon as humanly possible, and I am hugely grateful.

Bristolcon will also see us celebrating Fight Like a Girl Volume 2, and similarly ebooks will be available for direct purchase. This is a second anthology of excellent short stories looking at different interpretations of this phrase, and offering sound reasons why it’s a big mistake to think that particular comment is a remotely valid put-down. My story is titled Civil War.

Oisin McGann has done us proud with this gorgeous cover art, and the publication date is 21st November. My fellow authors are Danie Ware, Gaie Sebold, Dolly Garland, Cheryl Morgan, Anna Smith Spark, K R Green, Julia Hawkes-Reed, K T Davies, S. Naomi Scott and Lou Morgan.

In December, Newcon Press will publish Different Times and Other Places, the tenth collection in the Polestars series where editor Ian Whates has invited writers to offer a selection of their short fiction. Since the other authors are Jaine Fenn, Teika Marija Smits, Emma Coleman, Justina Robson, Cécile Cristofari, Aliya Whiteley, Liz Williams, Fiona Moore and Patrice Sarath, you will understand how honoured I am to be asked.

Reading through stories I’ve written over the past twenty-plus years was an illuminating experience, and choosing which ones to include was a fascinating challenge. The process showed me aspects of my own writing which I haven’t noticed before. That was as unexpected as it was intriguing. I also had the opportunity to write a brand new Green Man short story, prompted by a comment my husband made as we walked around an ornamental National Trust garden. Reading a book about tapestries had also given me an idea for a story some while ago, and now this collection will give you the chance to read that. Click here for pre-orders.

So while 2024 has included a lot that I’ll be happy to see the back of, October, November and December are putting plenty into the plus column!

I’ve been back and forth with myself, pondering the answer to this question. With so many new ideas just waiting to be worked on, why do we, as writers, return to old stories? Why do some stories hold such power over us that we retell and reimagine and reexplore them over and over, centuries after they were first told? Perhaps, in some cases, it’s because there are voices in those stories which have never truly been heard, whether that’s the women of Arthurian legend as in Juliet’s The Cleaving, or Snow White from the point of view of the stepmother, as in Cast Long Shadows by Cat Hellisen. In other cases, maybe it’s following clues through history and archaeology to shine new light on old tales, as with Stephen Lawhead’s King Raven Trilogy which places Robin Hood in Wales, in the aftermath of the Norman Conquest.

Ultimately, I can’t speak for those authors, or tell you why they revisited these tales (although I can definitely recommend that you read the books, each one of them is wonderful). All I can really tell you, is why this story called to me.

So, why then did I feel the pull of a Scottish myth so old that its origins are lost to time?

Like many fantasy readers, I have always loved myth and legend and folklore, especially from Scotland. I spent a lot of time outdoors as a child, often in semi-wild places rather than in cultivated gardens and parks. I clambered over rocks on loch sides and riverbanks, made dens in the roots of trees, hunted for tadpoles and dragonflies in marshy, undeveloped land near my home, felt the wind and the sun and the rain – always the rain – on my skin as I searched for signs of the fae. Even now, though I spend more time in my office than outside, I never fail to turn my face to the sun on the first warm days of spring, to find joy in the changing of the seasons and to point out these markers to my children as we walk to school.

It is perhaps unsurprising then, that I should have such love for a myth which touches upon the lives of the gods said to govern the seasons – The Cailleach, the lady of winter, who formed the highlands by striding through the land dropping boulders from her apron; Bride, queen of spring, who is celebrated at Imbolc at the beginning of February; Aengus, god of Summer, love and poetry. It is not a particularly well-known myth outside of the Scottish highlands and certain pagan groups dedicated to the worship of one or other of these deities, which is initially how I stumbled across it. As a pagan dedicated to the worship of Brighid (also spelled Brigid, Bride, Brigit) this myth has deeply personal resonances for me.

In the original myth, The Cailleach is jealous of Bride’s youth and beauty and so imprisons the younger goddess in her cave on Ben Nevis. Aengus dreams of Bride, falling in love with her, and he borrows three days from summer to put the Cailleach to sleep. He rescues Bride and they flee across the land, bringing spring in their wake. The Cailleach wakes and chases them, which is why we have a false spring, often followed by blustery weather in March and April.

As much as I loved this myth as a way of understanding and explaining the seasons, it never sat quite right with me. In other tales, Bride is not a meek princess who would weep and wait for a man to come and rescue her and the Cailleach is powerful and fierce – unlikely to be so jealous of another’s beauty that she would resort to such measures. In fact, in many versions of the Cailleach’s story, she is said to grow young and beautiful over the course of winter, only to age again during the summer.

I began to wonder what this story would look like if the two women were not placed in opposition to each other. I thought about what the myth I was familiar with told us, not about the gods themselves, but about the people who wrote it down. The Cailleach is jealous of another’s youth and beauty because we imagine aging beyond attractiveness to men as being the worst thing that can happen to a woman, but what if it’s not? Wouldn’t it be far worse to have your value and contribution constantly overlooked? Bride is meek and mild and obedient because those were virtues that were valued in a wife, but what if she was strong? What if she was determined to have power over her own life?

Was it possible to keep the exploration of the seasons and what they mean to people, while honouring the gods as I saw them? The Heart of Winter is my attempt to do just that. I’ll leave it up to the reader to decide whether or not I achieved my aim.

https://www.flametreepublishing.com/the-heart-of-winter-isbn-9781787588318.html

Scottish fantasy author Shona Kinsella is the author of The Heart of Winter, The Vessel of KalaDene series, dark Scottish fantasy novella Petra MacDonald and the Queen of the Fae, British Fantasy Award shortlisted industrial novella The Flame and the Flood, and non-fiction Outlander and the Real Jacobites: Scotland’s Fight for the Stuarts. Her short fiction can be found in various magazines and anthologies. She served as editor of the British Fantasy Society’s fiction publication, BFS Horizons for four years and is now the Chair of the British Fantasy Society.

Shona lives near the picturesque banks of Loch Lomond with her husband and three children. She enjoys reading, nature walks, and spending time with her family. When she is not writing, doing laundry, or wrangling children, she can usually be found with her nose in a book.

This month’s a busy one. On 15th October, I’ll be running an online writers’ workshop for the British Fantasy Society, looking at revising your own work. I’ll share examples of ‘before’ and ‘after’ drafts of a piece I wrote some years ago, and discuss the changes I made and why, to highlight the underlying principles of being your own editor. Full details here on the BFS website.

As I imagine you already know, The Green Man’s Quarry will be published on 21st October. You can pre-order paper editions from the Wizard’s Tower Press bookstore (UK only) which includes the ebook free.

You can pre-order ebook editions from your local Amazon, Barnes & Noble Nook in the US and Kobo. Paperback and hardback editions can also now be pre-ordered through Amazon and in the US from Barnes & Noble. Bookshops, chain and independent, should be able to order through their usual wholesalers.

We will be launching the book on the Friday evening before Bristolcon, 20th October, at the Hilton Doubletree hotel, Bristol. By the way, Wizard’s Tower Press are starting their own newsletter as social media fractures. You can sign up here for all their updates.

The first enthusiastic reviews are appearing on Goodreads – spoiler-free, which I very much appreciate.

Alas, I cannot stay to take part in Bristolcon on the Saturday. The diary gremlins have got me good and proper this year. I’ll be travelling to Sheffield to join dear friends as they celebrate a notable anniversary with family and friends, theirs and mine.

Looking further forward, I’ve selected the short stories for my Polestars collection, coming from NewCon Press. Choosing those and writing a short note for each one has been fascinating. More news on that in due course on the NewCon Press website.

Readers may recall the anthology Fight Like a Girl, from Kristell Ink. I’m delighted to say a second volume is on its way. Following extremely helpful feedback from the editors, I’ve revised my story and I am very pleased with it.

I’m currently working on my story for Ampyrium, the shared world project for the American small press ZNB, now that this year’s Kickstarter has funded. The open call for submissions for their other two 2024 anthologies, ‘Familiars’ and ‘Last-ditch’ has started and will run until December 31st. Remember, ZNB are committed to giving debut writers opportunities.

Looking back, long-standing pals may recall the days when I wrote a review column for Albedo One, Ireland’s foremost SFFH magazine, founded in 1993. As with so many genre publications, this has been a labour of love, and as happens for many reasons, the project has reached the end of this particular journey. Issue 50 is the final, valedictory, fiction edition, and that’s an honourable number for such a conclusion. My story is called ‘The End of the Road’, and you can buy the magazine through Amazon here.

Social media update: I’m using Twitter-as-was less and less as it becomes more and more pointless, and I look forward to the day when I can bin it, frankly. You can find me on Facebook at facebook.com/jemck, on Bluesky @julietemckenna.bsky.social, and on Mastodon @JulietEMcKenna@wandering.shop.

And don’t forget, you can sign up for my newsletter here.